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The horses come together to Moors and Christians, the Fiestas de Caravaca de la Cruz are held from 1 to 5 May in honor of the patron saint of the village, the Blessed and Vera Cruz de Caravaca. The horses came from Caravaca de la Cruz, on 2 May was done with the streets of the city with its splendid robes embroidered in silk and gold, and the ...
The papacy of two illustrious Valencians, Calixto III (Alfonso de Borja) and Alejandro VI (Rodrigo de Borja y Oms), narrowed cultural relations between Castile, Aragón, and Rome. From 1480, there were printers active in Spain [ 1 ] The Spanish literary works of greatest prominence were published or translated in Italy, the center of early ...
Important Renaissance themes are poetry, with Garcilaso de la Vega and Juan Boscán; religious literature, with Fray Luis de León, San Juan de la Cruz, and Santa Teresa de Jesús; and prose, with the anonymous El Lazarillo de Tormes. Among the principal features of the Renaissance were the revival of learning based on classical sources, the ...
Cruz, who writes and publishes his plays in English, translated “Two Sisters” into Spanish in 2019 and staged a production for Miami’s Arca Images at Miami Dade County Auditorium’s On ...
The Spiritual Canticle (Spanish: Cántico Espiritual) is one of the poetic works of the Spanish mystical poet Saint John of the Cross.. Saint John of the Cross, a Carmelite friar and priest during the Counter-Reformation, was arrested and jailed by the Calced Carmelites in 1577 at the Carmelite Monastery of Toledo because of his close association with Saint Teresa of Ávila in the Discalced ...
Benoist, Valérie. “‘El escribirlo no parte de la osadía: Tradición y mímica en la loa para El divino Narciso de Sor Juana Inés de la Cruz.” Latin American Theatre Review. 33. (1999): 73-90. Web. 27 Nov. 2011; Juana Inés de la Cruz. Obras completas. México: Fondo de Cultura Económica, 1976.---. Loa to Divine Narcissus. Sor Juana ...
The Generation of '27 (Spanish: Generación del 27) was an influential group of poets that arose in Spanish literary circles between 1923 and 1927, essentially out of a shared desire to experience and work with avant-garde forms of art and poetry. [1]
The work carried out by Esplá, and his importance as a composer, revived the theory of the play's origin in the 13th century. Since the end of the 19th century when historians first arrived at Elche and studied the play, the date of its composition was given a terminus ante quem of around the turn of 15th century.